Herb Geller Discography: 1949-1961

The Herb Geller Discography, Part 1: 1949-1961

Note: For conventions and abbreviations used in this discography, please see: Discography Key.

Herb Geller remembers that his first recording session was with the band of pianist Dick Pierce and that he soloed on "Adios." This could have been as early as 1947. So far, I have been unable to find any trace of this recording although Pierce did record for the Supreme and Kem labels in Hollywood in 1949.

Black & White78875 (1949)
Big Band ArchivesLP 12"2204 — The Big Band Scene...and All That Jazz

All titles on:

IAJRCLP 12"41 — The Almost Forgotten Pioneer of Modern Big Band Jazz: Earle Spencer (1984)
Fresh Sound (Sp.)CDFSR-CD 2501 — Earle Spencer and His New Band Sensation of the Year 1946 (2004)

Toni Aubin (v) on c.

This session, one of Geller's earliest commercial recordings and the last of the Spencer orchestra, is controversial. Some sources, including Ernie Edwards' "New Art Pepper Discography," Todd Selbert's Art Pepper discography in "Straight Life" (1979), the liner notes to IAJRC 41 and the Bruyninckx discography (CD-ROM 2004) list considerably different personnel not including Geller (Bob Lively is listed on alto sax along with Art Pepper). The personnel shown here are found in the Lord discography and the liner notes to Fresh Sound 2501. Geller definitely remembers being on this session: "I remember that because it was the first time I met and played with Art Pepper. It was around 1947, and perhaps my first recording as a sideman." (email from Herb Geller, Oct. 4, 2011). The 1947 date is mentioned in other sources including the Jepsen discography but seems unlikely given the number of Stan Kenton musicians present (Childers, Pepper, Almeida, Betts). 1949 seems more reasonable because Kenton had disbanded in late 1948 after which these musicians joined Spencer (reported in Down Beat Magazine). Many thanks to Todd Selbert for information pertaining to this session.

Update July 18, 2012: The union contract (Local 47, AFM) for this session confirms the date, studio and personnel shown (many thanks to John Reeder).

Track a features an ensemble vocal on the last chorus. Herb Geller does not solo on any of the tracks.

Information on this session comes from jazz-on-film expert Mark Cantor. These are performances from a short Universal-International film, "Claude Thornhill and His Orchestra," produced and directed by Will Cowan. On track c, Thornhill literally destroys a xylophone. The bassist's last name may be Lommo. Herb Geller does not solo on any of the titles.

The following from Geller (email) regarding the Thornhill band:"Thornhill´s band came to L.A. to do a month at the Palladium. Hal McKusick was playing the alto chair and had to return to New York because of sickness in his family. He recommended me to replace him. I finished the engagement and we did that musical short and a recording during that time. Bob Walters played the clarinet role and I believe Dick Hafer was on tenor and Gene Allen on baritone."

The information shown comes from the liner notes to Ajaz 284 and Laurent Cugny's online Gil Evans discography. The Bruyninckx and Lord discographies indicate the guitarist is Joe Derise who they also say arranged tracks a, b and d. Both of those sources also incorrectly call track b "Sugar Foot Strut" and track c, "Swingin' Down the Lane."

The Bruyninckx and Lord discographies indicate that Herb Geller is present on this and other 1952 Capitol Records sessions of the Billy May Orchestra; however, Jack Mirtle's comprehensive discography, "The Music of Billy May" and Ruppli's Capitol Records Discography do not include Geller on any of the Billy May recording sessions. It is interesting to note that Mirtle has a note to this session as follows: "The above and following sessions were basically road band personnel, with studio subs in a few key positions." Herb Geller has informed me that he was present on this session ("About Billy May, I remember I recorded 'High Noon' with him." - email January 15, 2012).

I have included in the personnel all the musicians listed in the Mirtle and Ruppli discographies (the most definitive sources) and included Geller as well. Obviously, there are too many saxophone players but it's impossible to determine who actually was present. Other musicians listed in the Bruyninckx and Lord discographies for this session are: Stu Williamson (t), Chuck Etter (tb), Willie Smith (as). Ralph Pena (b) and Remo Belli (d). At this point, the personnel shown here must be considered a best guess based on the information in hand.

The vocalists comprise a group called "The Encores" (later became the "Hi-Lo's").

Information on these recordings comes from the following article: James A. Harrod, "Herb Geller At the Haig,"Names & Numbers, 64, January 2013, p. 42. These tracks were recorded on acetates that, from the labels, appear to be demos, possibly for the Pacific Jazz label. Geller's quartet was performing Tuesday nights at the Haig club when the Gerry Mulligan quartet was off. There are actually two different acetates titled "The Continental" and Harrod indicates that they are the same except that one has the drum solo introduction edited out. Track e is performed only by the rhythm section. These acetates are part of the William Emery Collection and have not been auditioned.

These are live performances of the Shorty Rogers Big Band. On Time Is 9804, track f is mislabelled as "Tales of an African Lobster," track g is mislabbelled as "Sometimes I'm Happy" and track h is mislabelled as "I May Be Wrong." The title of track f has been confirmed by Ken Poston and a review of the Time Is CD. This was an arrangement originally written for the Woody Herman Orchestra.

The saxophone assignments are likely but not confirmed. Herb Geller solos on tracks a, d, e, h-k, m and p. It is difficult to identify all the soloists because many of them, especially the trombones, are off-mic.

This is music from a film originally titled "Hot Blood" but later changed to "The Wild One," featuring Marlon Brando. Herb Geller does not solo on any of the tracks. The brief alto saxophone solo on track c is probably Shank.

The original EP issues give the wrong personnel and recording date indicating that the bassist is Curtis Counce and the drummer Larry [sic] Marable; the recording date is listed as July 1954. In an interview, Herb Geller stated that the bassist was John Simmons and that Roy Harte suggested this recording session. The 2006 Fresh Sound CD reissue gives the correct personnel (Simmons, Harte) but lists the recording date as July 4, 1954. The recording date and location shown come from the AFM Local 47 union contract courtesy of Jim Harrod.

Although not so indicated, the version of "Moonlight Becomes You" issued on Fresh Sound 175 is the alternate take. Herb Geller plays tenor saxophone in the ensembles. The tenor saxophone soloist is Montrose.

The Lord discography indicates that the master numbers for tracks b-d are E4VB3023, E4VB3024 and E4VB3025, respectively. The master numbers shown come from the liner notes to RCA Victor (Ger.) 32337 which, in turn, come from the Bruyninckx discography.

According to the liner notes to the CD reissue Verve 314 533 256-2, these tracks were recorded on April 16, 1954; however, the master numbers suggest the later date. Herb Geller does not solo on any of the tracks.

Information on this session comes from jazz-on-film expert Mark Cantor. These performances are from the sound track to the short film "Birth of a Band" produced and directed by Will Cowan for Universal-International. Some of the listed recording musicians were substituted for in the actual film. Herb Geller solos briefly on screen on tracks a and d. Jimmy Knepper is also featured on screen on track a. Track b is a feature for Connie Haines backed only by the rhythm section. The film also includes a performance of "I Can't Give You Anything But Love" featuring Haines and a rhythm section which may or may not be from the Terry band.

Although most sources give August 11, 1954 as the recording date of this session, the AFM contract master log gives the date as August 10 with Max Roach and Clifford Brown as leaders. Track f is called "The Boss Man" on some issues.

It should be noted that both Dan Morgenstern's notes to Emarcy 838 306-2 (1989) and Nick Catalano's Clifford Brown biography (2000) indicate that Maini is the first alto saxophone soloist on all tracks. I respectfully disagree.

The AFM master log of contracts lists Herb Geller, Max Roach and Clifford Brown as leaders on this session even though most issues treat Dinah Washington as leader. Tracks g-j and l-m are ballad medleys. Piano and bass assignments by track are not known with certainty.

This session, and two others with different personnel, were produced by Leonard Feather under the title "Best from the West." On the original LPs, the personnel were not listed and the listener was supposed to identify the players as if participating in a "blindfold test." The recording date comes from the Ruppli/Cuscuna Blue Note Discography (2001 print edition). Some sources say only that all three of the Feather-produced sessions were recorded in the winter of 1954-1955.

The ensemble was called "The Melrose Avenue Conservatory Chamber Music Society." Tracks a and b were recorded on March 17, 1955 and c and d on March 18, 1955. Herb Geller was listed as "Bert Herbert" on the original issues. Track c is called "Skip To My Loot."

The liner notes to the 2005 CD reissue Fresh Sound FSR 2009 indicate, without providing a source, that the bassist on tracks b-e is Max Bennett and the drummer is Sid Bulkin. That reissue also states that tracks a and f were recorded on April 27, 1955 but with Callender and Manne on bass and drums, respectively. The information shown here comes from the Ruppli/Novitsky Mercury labels discography and the Shelly Manne discography ("Sounds of the Different Drummer" by Jack Brand and Bill Korst, 1997).

The liner notes to the 2005 CD reissue Fresh Sound FSR 2009 indicate, without providing a source, that track b was recorded on April 25, 1955 and that the bassist and drummer are Max Bennett and Sid Bulkin, respectively. The information shown here comes from the Ruppli/Novitsky Mercury labels discography and the Brand/Korst Shelly Manne discography ("Sounds of the Different Drummer" by Jack Brand and Bill Korst, 1997).

The information on the alternate takes of "The Roamin' Showman" comes from the Ruppli/Nowitsky Mercury records discography. The alternate take issued on the 1984 Mercury V.S.O.P. album differs from the master only slightly in Ferguson's trumpet solo. The Lord, Bruyninckx and Ruppli/Nowitsky discographies list only Burgess on trombone; however, the liner notes to the original issue, EmArcy MG 36076, indicate the presence of Bernhart.

The Meriwether Buddy Rich discography indicates that this and the following session were recorded in November 1956 which seems very unlikely since by that time, reviews of the album had already appeared. There is an alto saxophone obbligato on track d that may be Herb Geller.

The master numbers in parentheses are initial designations later changed when the tracks were transferred to the Verve label (Ruppli).

An alto saxophone solo on track b may be Herb Geller. There is a third session on January 6, 1956 at which the last 4 tracks that make up the "Buddy Rich Sings Johnny Mercer" sessions were recorded. The Lord and Bruyninckx discographies indicate the same personnel present on that session. This is not true, however. The titles "Dream," "Fools Rush In," "Skylark" and "Travelin' Light" were recorded with an ensemble that sounds like strings, flute, harp and rhythm section. No brass or additional woodwinds are heard. The Meriwether Buddy Rich discography indicates that these sessions were recorded in November 1956 which seems very unlikely since by that time, reviews of the album had already appeared.

The master numbers in parentheses are initial designations later changed when the tracks were transferred to the Verve label (Ruppli).

Most sources indicate that Herb Geller is present on the January 9, 1956 John Graas session for Decca ("Jazz Lab 2"). But in listening to this material carefully, it seems to me that the alto saxophonist on "Jazz Sections From Symphony No. 1 In F Minor (Allegretto)" and "Pick Yourself Up" is Ronny Lang. The other two tracks, "Friar Tuck" and "Le Chasse" have no alto saxophonist present.

The master numbers in parentheses were those assigned before the session was transferred to Verve (Ruppli). Herb Geller does not solo on any of the tracks.

Herb Geller participated in several of the Verve recordings that Ella Fitzgerald did as part of the "Cole Porter Song Book." They are detailed in the sessions below of February 7-9 and March 27, 1956. These are organized by session number as indicated in the booklet that accompanies the 1993 box set Verve 314 519 832-2 ("The Complete Ella Fitzgerald Song Books"). It should be noted that this prevents the tracks from being listed consecutively by master number. Only the titles in which Geller is involved are listed. I must also acknowledge the excellent Ella Fitzgerald Discography compiled by the late Michele Scasso.

This was the first of the "Cole Porter Song Book" recording sessions. In addition to the titles shown, "Miss Otis Regrets" (20071-2) was recorded at this session with Fitzgerald accompanied only by piano. Herb Geller does not solo on any of the tracks.

This was the third of the "Cole Porter Song Book" recording sessions. The unidentified strings include 12 violinists and 2 violists. Mischa Russell is the concertmaster. Herb Geller does not solo on any of the tracks.

This was the fourth of the "Cole Porter Song Book" recording sessions. The unidentified strings include 12 violins and 2 violas. Mischa Russell is the concertmaster. Herb Geller does not solo on any of the tracks.

This was the fifth of the "Cole Porter Songbook" recording sessions. The unidentified strings include 12 violins, 4 violas and 2 additional celli. Mischa Russell is the concertmaster. Also recorded at this session with Fitzgerald and the rhythm section only was "Let's Do It" (20086-1). Herb Geller does not solo on any of the tracks.

This was the seventh of the "Cole Porter Song Book" recording sessions. Eight unidentified violinists and two unidentified violists are present. Mischa Russell is the concertmaster. Also recorded at this session with Fitzgerald backed only by the rhythm section were "You're the Top" (20123-3), "I Concentrate On You" (20124-8) and "Let's Do It" (20126-3). Herb Geller does not solo on any of the tracks.

The Shelly Manne discography ("Sounds of the Different Drummer" by Jack Brand and Bill Korst, 1997) indicates that this session was recorded in December of 1955 and that the drummer is Shelly Manne. It doesn't sound like Manne to me. The information shown comes from Ruppli's Decca Records discography (also found in the Lord and Bruyninckx discographies). The discography that accompanies the Bear Family CD reissue indicates the participation of three additional trombonists, Harry Betts, Jimmy Knepper and Bob Enevoldsen but four trombones do not seem to be heard on any of the tracks.

An unissued take of Blue Room may exist. Herb Geller does not solo on any of the tracks. The Ruppli/Porter Clef/Verve label discography indicates that Geller is not present on this session, the alto saxophonists being Shank and Maurice Stein. This is contradicted by the liner notes to the 2001 Verve CD reissue wherein Shank and Geller are listed.

Unissued takes of Mountain Greenery and Cheek To Cheek may exist. Not all of the string and additional woodwind players are identified. Herb Geller does not solo on any of the tracks. The Ruppli/Porter Clef/Verve label discography indicates that Geller is not present on this session, the alto saxophonists being Shank and Maurice Stein. This is contradicted by the liner notes to the 2001 Verve CD reissue wherein Shank and Geller are listed.

Date: July 5, 1956Location: Hollywood, CALabel: KappListen To the Music of Russell Garcia and His Orchestra

This is Rex Middleton and his Hi-Fi's vocal group backed by Buddy Bregman and his orchestra. Vocal arrangements are by Middleton. No source has been found as yet for the complete big band personnel which probably resembles those on the June 11-12, 1956 Bing Crosby Verve sessions. Herb Geller is the alto saxophone soloist on tracks a and b (confirmed by him by email July 2012). The muted trumpet heard on track c sounds very much like Harry 'Sweets' Edison. The guitar solo on track e sounds very much like Barney Kessel. The rest of the tracks on the LP do not involve a big band, just a quartet (p, b, g, d).

Session records indicate that the drummer is Jimmy Campbell but aural evidence clearly suggests Osie Johnson who may have been a last minute replacement. Track d has many additional titles: "Glen's Den," "Boss's Basement," "Moss Is Boss," "Stay Loose With Bruce," "Katimavik," "Some Blues," "All Get On With Yvonne" and "Watch the Ford Go By." There may be more.

"Modern Jazz Gallery" was a double LP that featured, in addition to the Paich band, ensembles led by Med Flory, Russell Garcia, Warne Marsh, John Towner Williams and Billy Usselton. Track c is called "Lonely Time."

"After You've Gone" was originally given the master number 4050 but that was later changed to 4053. On the 1999 Verve CD reissue, Norman Granz is heard using 4050 to identify each of the 10 takes. Timings shown are for the actual performances or fragments thereof only and do not include studio chatter. Fresh Sound 560 includes a version of "After You've Gone" but I don't know which take. The soloists on "After You've Gone" are Brown and Geller.

Track c begins with a bass solo called "Bass Introduction" on the reissues. Track d ends with a bass solo called "Bass Conclusion" on the reissues. Playboy PB 1958 and Fresh Sound 560 list track e as "Cat Without a Playmate."

The titles come from a movie, The Wild Party (A.K.A. Step Down To Terror). Track j is performed by Previn and Webster only. Webster also solos on tracks a, e, h and i. Herb Geller does not solo on any of the tracks. The alto saxophone soloist on tracks e and h is most likely Bud Shank.

The Bruyninckx, Lord and Ruppli/Porter Clef-Verve discographies all indicate that Herb Geller is part of a big band led by Buddy Bregman, backing vocalist Anita O'Day, on sessions of December 19 and 20, 1956. The resulting tracks were issued on Verve MGV 2043 ("Pick Yourself Up With Anita O'Day") and reissued on the 1992 Verve CD 314 517 329-2; however, this information is incorrect. The actual personnel can be found in the 1999 Mosaic Records box set, "The Complete Anita O'Day Verve/Clef Sessions" (MD9-188) and Geller is not present on either session.

This is music from the soundtrack of the Allied Artists film "Hot Rod Rumble" directed by Leslie Martinson. Clearly more than one session was involved. The exact recording dates are unknown but since the movie was released on June 9, 1957, the sessions must have taken place in the first half of 1957 or even in 1956.

The Maynard Ferguson "Dream Band" performed at the Peacock Lane in Hollywood, CA at the end of December 1956 and early January 1957. Many of the sets were recorded by the noted engineer Wally Heider and the reel-to-reel tapes that resulted have been stored at the Library of Congress. Some of this material has been issued commercially (see below) and most of it has circulated among collectors for years. Trying to bring order to the tracks available from all the various sources is next to impossible because there exist multiple versions of many of the song titles. For reference purposes, the following is a summary of the materials held at the Library of Congress (Wally Heider Collection):

There are three tracks apparently recorded by Heider during this period but not shown in the Library of Congress catalog listings above:Free Lee 3:24 (issued on Artistry (Can.) 104, Fresh Sound FSCD 1016 and FSR-CD 346)Inner Space 7:12It's Only a Paper Moon 3:30

You Said It (Stand up and Preach) - 2:48(Manny Albam) / arr: Manny Albam

unissued

ad.

Velvet (Lonely Time) - 4:10(Marty Paich) / arr: Marty Paich

unissued

ae.

Goodbye Mr. Chops - 3:12(Bill Holman) / arr: Bill Holman

unissued

af.

Dancing Nitely - 4:26(Bill Holman) / arr: Bill Holman

unissued

ag.

Ain't Life Grand - 2:56(Bill Holman) / arr: Bill Holman

unissued

ah.

Still Water Stomp - 3:33(Bob Brookmeyer) / arr: Bob Brookmeyer

unissued

ai.

The Wailing Boat - 2:55(Al Cohn) / arr: Al Cohn

unissued

Maynard Ferguson (vtb) on b, d, f, h, q, x-y, aa-ab, ae, ah-ai.

These are recordings made by engineer Wally Heider (see above) and must represent several sets performed by the Ferguson band on these dates. I am not absolutely certain all of these tracks were performed on January 4 and 5. Some may have been performed on January 6. Timings shown do not include announcements or applause. The Fresh Sound CDs indicate these titles were recorded in December 1956; however, the Library of Congress Wally Heider collection includes recordings made at Peacock Lane only during January 4-6, 1957 and nothing from 1956. I cannot definitively rule out the possibility that some of these come from December 1956 since the provenance of the bootleg recordings of this material is unknown. Artistry (Can.) 104 and the Fresh Sound CDs include a title not found in the Library of Congress records: "Free Lee" (3:20). "Geller's Cellar" has many additional titles: "Glen's Den," "Boss's Basement," "Moss Is Boss," "Stay Loose With Bruce," "Katimavik," "Some Blues," "All Get On With Yvonne" and "Watch the Ford Go By." There may be more.

These are recordings made by engineer Wally Heider (see above) and must represent several sets performed by the Ferguson band on this date. I am not absolutely certain all of these tracks were performed on January 6. Some may have been performed on January 4 or 5. Timings shown do not include announcements or applause. The Library of Congress records indicate a total of 5 versions of "The Wailing Boat" in the Heider collection but only 3 have been accounted for and placed in the previous session. Tracks t-y comprise a medley, 7:06 in duration, called "Christmas For Moderns." Track x features an ensemble chorale. One may wonder why a Christmas medley would have been performed on January 6. In his announcement, Ferguson states that the performance was a special request from someone in the audience. "Geller's Cellar" has many additional titles: "Glen's Den," "Boss's Basement," "Moss Is Boss," "Stay Loose With Bruce," "Katimavik," "Some Blues," "All Get On With Yvonne" and "Watch the Ford Go By." There may be more.

Little information is provided about the session from which this track (a fast blues) comes, but the alto saxophone solo sounds very much like Herb Geller. The liner notes to the CD suggest the personnel is made up of members of the 1956-1957 Les Brown band of which Geller was not a member. I think it is equally likely that the transcription sessions that produced the 22 tracks on the CD involved some of the many high-profile jazz-oriented studio musicians working in Los Angeles at the time. Although some of the other titles have alto saxophone solos, none of them sounds like Geller to me. I am grateful to Todd Selbert for bringing this CD to my attention.

The information on this TV show comes from the Jazz On the Screen database, from "Pepper Adams' Joy Road: An Annotated Discography" by Gary Carner and from Jim Harrod. Vocalist Kay Brown also performs a medley of spirituals accompanied by pianist Eddy Samuels on this broadcast.

The recording date comes from "Pepper Adams' Joy Road: An Annotated Discography" by Gary Carner. This was the last night of Jazz City's existence. The ensemble is called "The Swingers." The title is listed as "Lady Be Good" which is the standard upon which this well-known contrafact is based. Other artists featured on "Jazz City Presents" are Russell Garcia and Frank Rosolino but Herb Geller is not present on the other tracks.

Yes, Anthony Perkins the actor famous for his portrayal of Norman Bates in Hitchcock's classic horror film "Psycho." The exact recording date is not known but the titles were recorded at three sessions in the Spring of 1957 when Perkins was involved in filming the movie "Desire Under the Elms.

CapitolEPEDM 881/1/2/3/4 (4 disc set) — The James Dean Story (1957)
CapitolLP 12"W881 — The James Dean Story (1957)
Blue Moon (Sp.)CDBMCD 4104_3 — The James Dean Story (2005)

This is music from the soundtrack of the Warner Brothers movie "The James Dean Story." Only the middle section of "Prelude" was recorded at this session, the beginning and end being recorded on May 11, 1957 with a different orchestra. The entire "Prelude" times at 6:27. Herb Geller does not solo on any of the tracks.

The Ruppli Decca Records label discography gives no personnel for the "Sweet Smell of Success" soundtrack recordings sessions. The personnel shown come from the Lord discography whose source is unknown. On Decca DL 8610, the only musicians listed Are the following: Pete Candoli (t), Lloyd Ulyate (tb), Ted Nash (as), Shelly Manne (d), Armand Kaproff (vc), David Frisina (vn), Martin Ruderman (f), Gordon Schoneberg (o), Mitchell Lurie (cl), Jack Marsh (bsn), John Crown and "Johnny Williams" (presumably John Towner Williams) (p) and Lee Perrin (tmp). The tracks shown are the only ones from the soundtrack that involve a jazz ensemble. The rest feature a symphony orchestra of which Herb Geller may or may not be a member and they are not included here. There are alto saxophone solos on tracks a and d that may have been performed by Geller (although Nash cannot be ruled out).

Marty Paich is the probable arranger. The other eight tracks on the album were recorded with a string ensemble called the "Hollywood Strings" and it's doubtful that Herb Geller was present on those sessions.

Vocalist Johnny Holiday (born Danny Siegel) made few jazz recordings throughout a long but up and down career. This one is reminiscent of the Marty Paich-Mel Torme collaborations for Bethlehem Records (see session of November 10-11, 1956 above).

ModeLP 12"LP 124 — Eight By Eight: Music To Fill a Void (1957)
V.S.O.P.LP 12"4LP — Eight By Eight: Music To Fill a Void (1985)
Mode (Jpn.)LP 12"35224-28 — Eight By Eight: Music To Fill a Void
V.S.O.P.CD4CD — Eight By Eight: Music To Fill a Void (1995)
Muzak (Jpn.)CDMZCS 1133 — Eight By Eight: Music To Fill a Void (2007)

This is "Stars of Jazz" show no. 72. Mel Torme is the host. A guitar is definitely audible making the ensemble a nonet. Al Viola performs a solo version of "Yesterdays" on this show. The baritone saxophonist could be Med Flory. Zeta (Fr.) incorrectly identifies the alto saxophonist as Joe Maini. Fresh Sound 2212 and Zeta (Fr.) 729 indicate the recording date is November 11, 1958. 1957 seems more likely since in September of that year, Fagerquist recorded his studio session for Mode. Track b is listed as "Aren't You Glad You're Mine" on Calliope 3019 and Zeta (Fr.) 729. Herb Geller solos on tracks a and b along with Fagerquist. Enevoldsen also solos on track a. Tracks c and d have not been auditioned.

This is an appearance of the Shorty Rogers big band on the Marine Corps Dress Blues television show. The complete personnel are not known but probably resemble that of the January 30, 1957 studio session above when the studio version of this title was recorded for RCA Victor. The timing show does not include introductory remarks by the announcers (with Rogers' theme, "Popo," in the background). Herb Geller solos on this track along with Rogers, Enevoldsen, Jolly and a tenor saxophonist.